One of the great things about books is you can afford to do anything.
George R. R. MartinRead
The distinction between literary and genre fiction is stupid and pernicious. It dates back to a feud between Robert Louis Stevenson and Henry James. James won, and it split literature into two streams. But it's a totally false dichotomy.
Interpretation
The divide between literary fiction and genre fiction is misguided and harmful.
George R. R. Martin argues that the classification of literature into 'literary' and 'genre' fiction is not only trivial but also damaging to the understanding of literature as a whole. He traces this inappropriate distinction back to a personal rivalry between well-known authors, suggesting that it has created unnecessary categorizations that limit the appreciation of diverse narrative forms and styles.
In practice
In a discussion about the value of different literary forms during a writers' conference.
One of the great things about books is you can afford to do anything.
I hate outlines. I have a broad sense of where the story is going; I know the end, I know the end of the principal characters, and I know the major turning points and events from the books, the climaxes for each book, but I don't necessarily know each twist and turn along the way. That's something I discover in the course of writing and that's what makes writing enjoyable. I think if I outlined comprehensively and stuck to the outline the actual writing would be boring.
There is only one god and his name is Death. And there is only one thing we say to Death: “Not today.
I did not do it. Yet now I wish I had.’ He turned to face the hall, that sea of pale faces. ‘I wish I had enough poison for you all. You make me sorry that I am not the monster you would have me be, yet there it is. I am innocent, but I will get no justice here.
But a voice inside her whispered, There are no heroes, and she remembered what Lord Petyr had said to her, here in this very hall. 'Life is not a song, sweetling,' he'd told her, 'You may learn that one day to your sorrow.' In life, the monsters win, she told herself.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
Walter Scott has no business to write novels, especially good ones. It is not fair. He has fame and profit enough as a poet, and should not be taking the bread out of the mouths of other people.
I'm not sure that it's possible to write a novel about people who don't transgress or stumble, people who don't surprise themselves with the things they do, people who can explain all their actions with perfect logical consistency. At least it's not possible for me to write that sort of novel.
The king died and then the queen died is a story. The king died, and then queen died of grief is a plot.
Read with care, George Orwell's diaries, from the years 1931 to 1949, can greatly enrich our understanding of how Orwell transmuted the raw material of everyday experience into some of his best-known novels and polemics.
One cannot be too careful in the selection of adjectives for descriptions. Words or compounds which describe precisely, and which convey exactly the right suggestions to the mind of the reader, are essential.
She liked books more than anything else, and was, in fact, always inventing stories of beautiful things and telling them to herself.
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